Whether he is an artist or not, the photographer is a joyous sensualist, for the simple reason that the eye traffics in feelings, not in thoughts.

The photographs are not illustrative. They, and the text, are coequal, mutually independent, and fully collaborative. By their fewness, and by the importance of the reader’s eye, this will be misunderstood by most of that minority which does not wholly ignore it. In the interests, however, of the history and future of photography, that risk seems irrelevant, and this flat statement necessary.

Stare, pry, listen, eavesdrop. Die knowing something. You are not here long.

It is easy to imagine fantasy as physical and myth as real. We do it almost every moment. We do this as we dream, as we think, and as we cope with the world about us. But these worlds of fantasy that we form into the solid things around us are the source of our discontent. They inspire our search to find ourselves.

Photography is not cute cats, nor nudes, motherhood or arrangements of manufactured products. Under no circumstances it is anything ever anywhere near a beach.

The meaning of quality in photography's best pictures lies written in the language of vision. That language is learned by chance, not system.

It's too presumptuous and naïve to think you can change society by a photograph or anything else... I equate that with propaganda; I think that's a lower rank of purpose.